116th Annual Conference - Bellingham, Washington
Friday, November 9 - Sunday, November 11, 2018

Magic and Witchcraft on Stage and Screen

Session Chair: 
Logan Greene, Eastern Washington University
Session 8: Sunday 10 am – 11:30 am
Bond Hall 106


  1. Jenny Platz, University of Rhode Island
    This paper will argue that The Love Witch is a complex film that defies the misogynistic elements of giallo films while paying homage to the genre. The film rewards female power and agency through Elaine’s use of witchcraft. The Love Witch is a feminist fairy tale where the female body can be both feminine and powerful, and does not have to be punished for its agency.
  2. Monica Stenzel, Spokane Falls Community College
    The transfiguration of fictive witches from early modern Shakespearian crones into familiar Hogwartsian school mates has taken centuries to occur. Such a metamorphosis largely relies on the changing importance of Christianity, and specifically whether the witch owns her powers through choosing a heretical pact with the devil, or inherits them in a magical genetic lottery. 
  3. Zoe Dumas, San Francisco State University
    Modern horror cinema has worked to refigure the witch from evil crone to positive icon of the feminist movement. The Witch (2015) and The Autopsy of Jane Doe (2016) represent women who use the magical power of witchcraft to right the violent wrongs that have for centuries plagued women in the name of the patriarchy. 
  4. Chloe Brotherton, University of California at Davis, Nadia Saleh, University of Massachusetts Amherst
    American Horror Story: Coven attempts to provide a nuanced depiction of the intersections between race, gender, sexuality, and witchcraft. The show explicitly discusses the complex interactions between the fear and control of racialized sexuality and monstrous femininity. However, it ultimately seems to advocate for a non-intersectional feminist approach, emphasizing the destruction of shared misogyny and the erasure of difference. 
Session Cancelled: